ExamplES permutations of four-note units
ascenoedingoeserioees diatoeonic (BjarsF7/D-8) although bar 7 could be viewed as a series of 5th roeectaoeng. eacoeh fooellowing arpeoeggiooes isoejalsFo/aDn
(asoeindicatedoe intervals, it of
note-soeequoeence. under each le), a 2-4-1-3 Similarly, th&ough
com⋲posed of⋲5ths, be⋲seen even the first half of bar 8 is it can also as
Pe⋲ntatonic,⋲each followin⋲g four-note groups taken from a minor one a 1-3-2-4 note-sequence. note that, if the fourth note of each arpeggio were placed on the string above each time, we would have exactly the same fingerings as used in bars 3 and 4. (Bars 9-10) now back to our four-notes-per-string pattEern (blac1k0 an1d2 grey no1t2es)1. we hav1e3a straigh1t2for1w0ard15applica1ti3on of a 4-3-4G-/3A-2-1 unit (six-note comGbi/nEation) on each string; here, due to the big stretchGy/Aouoewill need to incorpoGra/tEe picking-hand tapping. weoedescend 3-3oe-2
g⋲roupoe-configuoeratio⋲n inoethis (Bar 11) next the same shape using a 4-1-2-3 unit on
overal⋲l each string. note how the bar helps to give the contents some rhythmic interest for the listener.
(Bar 12). Then we ascend using a 3-4-1-2 unit on each string. This time, without the need for fretting-hand taps, as the pace is relatively slower. as you’ll notice, this particular passage requires a large stretch during the pulloff from the fourth to the first finger on each string.